Chris Hemsworth smashes onto the big screen yet again, wielding his massive hammer in Thor: The Dark World.
Director Alan Taylor picked up exactly where Kenneth Branagh had previous left off with the initial Thor film.
The storyline revolves around an ancient ‘earth stone’ called ‘aether’ which has an all-consuming power – a power that Malekith, the leader of the ‘dark elves’, strives to obtain.
Thor is certainly the most complex of the Marvel films, and The Dark World takes a step further in its complexity to that of the films predecessor.
Taylor – who is more well-known for his TV directing as oppose to big screen directing – put together a fantastic visual display.
The film is helped along with some strong performances from Hemsworth, Natalie Portman and Anthony Hopkins. But the pièce de résistance is most certainly that of Tom Hiddleston, who plays the role of Loki.
Hiddleston performance is second to none in the feature, and the vast majority of laugh-out-loud moments stem from him.
A cameo role from Chris O’Dowd also has sparks of entertaining humour, however his role is fleeting, raising questions as to why he was used for just a mere two scenes.
Speaking of cameo’s, Stan Lee, the writer of the Marvel comics continues the tradition of appearing in all the Marvel flicks.
Overall the film is what one would expect prior to viewing. It is in essence an action film, with the two main characters of opposing sex trying to find a way to engage in a relationship while struggling to fight external interference. It just so happens that the external interfere in Thor is the potential annihilation of the nine realms.
There are some issues that Taylor fails to address in the film which lead to it losing some validity – although the entire film is based around the idea of mythological Norse Gods, so the question of reality has to be considered loosely.
But, Taylor never explains how Jane Foster (Portman) can breathe when she leaves earth for other realms.
The conclusion of the film also leaves plenty of room from confusion as a matter that seems to be quite apparent, is not. However this may, and one would hope for the integrity of the franchise will be addressed in the following film, of which there most certainly will be, so Taylor must be given the benefit of the doubt.
However, the peak of frustration is reached within the first couple of minutes in the film. Taylor completely omitted any explanation as to how the ‘Bifrost’ – the Asgardians mode of transportation from realm to realm, Asgards equivalent to the M50 – seemed to be fully restored despite Thor destroying it in the first film. Not so much as a single hard hat, or ‘under construction’ sign was offered by Taylor.
But for those film goers who are not anal retentive Thor: The Dark World will brighten up the dullest of days.